Quintessentially American; refrigerator door Louvre
stylistically Picassoesque, Daliesque
though Dadaism and Mamaism predominate
as pudgy-finger tempera on newsprint evolved into
more complex designs, bolder expressions
of the artists vision in markers on white paper,
macaroni on tag board, leaves melted in wax paper
Like any good museum, the exhibits rotate; handsomely,
haphazardly framed via magnets-on-white-enamel
”l’art pour l’art”
Great art appreciates in value as the artists output declines
from striking, carefree, post-modern, outside-the-lineism to
photos-from-magazines montages, lopsided-clay bowls
groundbreaking quirkiness giving way to more sterile,
artistically utilitarian ‘art’ for-the-masses prints
practice schedules, bake sales, dates of note, deadlines;
dentist appointments, scribbled grocery reminders, odd
phone messages all lacking appreciable aesthetics
”l’art pour l’art”?
the gallery stands dormant; the art in cardboard storage,
unseen but appreciating in value with the artists now retired
having moved on to other pursuits, different mediums,
none displayable here; we are curators with empty frames
”l’art pour l’art”…
Though the artist-as-a-young-woman has a budding protégé
his apprenticeship just beginning with stark, bold lines of color;
marker-on-white copier paper, crayon-on-restaurant-placemat
in his future there will be gallery openings, oohing-and-ahhing
over his immediate masterpieces; form always trumping function,
experimentation will be celebrated, inspiration never questioned
”l’art pour l’art”! We are waiting for Felix.
– Mark Lucker
Ponderable polemics, poetic 